14
May

The change is accelerating

6 Comments

When I was in col­lege, I took an ECON 101 course. The bedrock of the course was a paper, which, despite my con­sid­er­able google-fu, I can’t find for the life of me. So, here’s my inad­e­quate attempt to recon­struct the cen­tral point from memory:

Some economies are gen­er­ally mer­i­to­cratic. Other economies are gen­er­ally clien­telist. In a mer­i­to­cratic economy, you usu­ally make pur­chases because someone is pro­viding a good or ser­vice that a.) you need and b.) is better than (or pro­vided in a way or for a price that’s better than) all com­peting ser­vices and prod­ucts that meet your need. In a clien­telist economy, you usu­ally make pur­chases because someone is pro­viding a good or ser­vice that a.) you need and b.) you have a kin/clan/patronage rela­tion­ship with the provider. Whether an economy is mer­i­to­cratic or clien­telist is driven by culture.

The paper was a gross over sim­pli­fi­ca­tion (hey, it was a 101 course) and touted the ben­e­fits of mer­i­to­cratic economies of clien­telist ones. If I remember cor­rectly, it basi­cally used the com­par­ison to explain the so-called “tri­umph of the west.” Ugh.

Anyway, it’s a stag­gering over­sim­pli­fi­ca­tion, but I do remember being struck by the expe­ri­ence when I was vis­iting Taiwan. I wanted to eat a par­tic­ular kind of noodle, and my friends wouldn’t let me just go get the noo­dles I wanted. We had to go across town to where my friend’s cousins ran a noodle place. The kin rela­tion­ship, not the quality of the good, was para­mount. This same kind of thinking kicked in when I needed to replace my suit­case. I wanted to go com­par­ison shop­ping and get the best suit­case I could find at the best price. The pres­sure to instead buy it from a friend of a friend was intense. It was a cul­tural shift that took some get­ting used to.

Obvi­ously, I’m talking about gen­eral trends here. There are plenty of people in overall mer­i­to­cratic economies who buy things based on kin/friend rela­tion­ships. There are plenty of people in clien­telist economies who buy things based on merit.

But that paper was my first real thinking about eco­nomics, and over­sim­pli­fied and eth­no­cen­tric as it was, it stuck with me. I always assumed that I lived in a mer­i­to­cratic economy, and that was that.

So, I’m vis­iting my mom for mother’s day this past weekend, and we walk past an inde­pen­dent book­store in her small-town com­mu­nity of intel­lec­tuals and artists. There’s a sign in the window (this is not an exact quote — I’m para­phrasing from memory): “Our store is run and staffed by local artists and writers. We are the people who live and work along­side you. We buy your kids’ girl scout cookies and sit beside you in church. We are the people you see every day. Please remember this when you con­sider shop­ping at amazon.”

The argu­ment isn’t, “We pro­vide a better good or ser­vice at a com­pet­i­tive price.” The argu­ment is, “You know us. You like us. Sup­port us.”

It’s an argu­ment I see more and more. And I see it the most in the arts, par­tic­u­larly in those sec­tors of the arts where the Internet has made end-products “non-excludable” (to quote Cory Doc­torow). The mer­i­to­cratic argu­ment falls to pieces in the face of an Internet where any book, painting, movie, song or TV show you want can be had for free, or at an insanely-low “loss-leader” price from an outfit like amazon.

These are the things I think about when I con­sider Tor’s most recent deci­sion to abandon DRM (of which I strongly approve). In the end, .pdf and .epub files of every book Tor pub­lishes will be avail­able all over the Internet for down­loading at a single click. Sure, some will be on sketchy, virus-laden sites, but plenty will just be made avail­able, clean and easy.

For free. If folks are going to pay for them, that’s going to be a con­scious choice.

I spend a lot of time obsessing over the fate of pub­lishing and the impact of the Internet on *my* little corner of the economy. Seeing that sign got me to pull the camera back a bit. It’s not just pub­lishing. It’s not just the arts. It’s every­thing. It’s the whole foun­da­tion of how we value things, of how and when and where we chose to spend our money.

And the speed of that foun­da­tional change is increasing.

  • http://twitter.com/SheckyX Shecky X

    Ide­ally (and more com­monly for me as I go), pur­chases are simul­ta­ne­ously mer­i­to­cratic and clien­telist — for example, once I find a product that is the best inter­sec­tion of price/value/customer-service/intangibles that I can find, I stick with it like grim death. Case in point: there’s a local mechanic who WILL get all of my busi­ness as long as I live in the area. They’re not the cheapest (not by a long shot, though they’re also not insanely expen­sive, rel­a­tively speaking) and they’re not overall the best (they’ve missed the mark now and then), but what they do have is the absolute desire to stand behind their work and BE THERE for the cus­tomer. They’re friendly people who are 100% honest about their work; they’ll tell you, in plain lan­guage, exactly what they’ve found wrong, the dif­ferent options in fixing/replacing/ignoring/stopgapping the problem and how each option will cost AND ben­efit you. And they don’t pull the stan­dard trick of finding some­thing that’s a little off (i.e., some­thing that is not at all dan­gerous, that may not even present a problem any time soon) and then saying you “must” entirely replace the whole damn thing at a mas­sive cost of mate­rials and labor; they’ll tell you what they’ve found but they’ll also tell you exactly what risks it may or may not pose.

    So, the ini­tial outlay of money is a bit higher than I could almost cer­tainly find with a little bit of shop­ping around, but with such a high level of personally-satisfying ded­i­ca­tion to the cus­tomer, they will ALWAYS get my busi­ness. Because, to me, it’s worth every extra penny to 1) ensure that the problem WILL be dealt with (usu­ally sooner than later, but never “never”) and 2) help do what I can to encourage that kind of behavior by a busi­ness. They may not be tech­ni­cally the best or the cheapest, but because they stand behind their work, they deliver the best overall package.

    I’m the same way with my enter­tain­ment. I’ve been out­ra­geously for­tu­nate to have found authors who 1) do highly enjoy­able work and 2) are just plain good folks out­side of their writing. So while I’m sup­porting the mer­i­to­cratic aspect of their work by buying it, the clien­telist aspect is so strong that I also go above and beyond that base to sup­port that work as much as I can. Utterly worth it to me to 1) ensure con­tin­uing good reading and 2) help sup­port people who are straight-up fine folks.

  • Joshua A.C. Newman

    I couldn’t agree more. If all you’re selling is that you’ll go out of your way to whisper some­thing to someone and the promise that you’ll sue them if they whisper it to someone else, that’s not much of a product.

    Con­versely, Mobile Frame Zero will be Cre­ative Com­mons because a) there’s no way to keep it from being shared, and b) obscu­rity is by far the greater to my bottom line than piracy.

    It also means that I don’t have to treat my cus­tomers and fans like crim­i­nals, which sits with me juu­u­uust fine.

  • http://johnwiswell.blogspot.com/ John Wiswell

    I don’t see why the appeals of these sys­tems have to be exclu­sive from each other.  The appeal of a local store like the farm three streets over from me is that I know they don’t use hor­mones, they grass-feed, and everyone is entirely account­able and paid prop­erly. The trans­parency of the small local busi­ness is easier to verify than Amazon, which it’s come out, takes advan­tage of a lot of people who don’t have many other choices. The sto­ries of their packing facil­i­ties sound like some­thing I’d rather not put money into where pos­sible. The desire to pay as little as pos­sible can be weighed against the desire to keep good busi­nesses and artists afloat. That’s part of the appeal of Kick­starter, I guess — if you know the author, and they post all these updates are upfront about costs, then you get what you want out, for what you want to pay, while sup­porting a busi­ness you want to exist.

  • http://johnwiswell.blogspot.com/ John Wiswell

    I don’t see why the appeals of these sys­tems have to be exclu­sive from each other.  The appeal of a local store like the farm three streets over from me is that I know they don’t use hor­mones, they grass-feed, and everyone is entirely account­able and paid prop­erly. The trans­parency of the small local busi­ness is easier to verify than Amazon, which it’s come out, takes advan­tage of a lot of people who don’t have many other choices. The sto­ries of their packing facil­i­ties sound like some­thing I’d rather not put money into where pos­sible. The desire to pay as little as pos­sible can be weighed against the desire to keep good busi­nesses and artists afloat. That’s part of the appeal of Kick­starter, I guess — if you know the author, and they post all these updates are upfront about costs, then you get what you want out, for what you want to pay, while sup­porting a busi­ness you want to exist.

  • Mhairi Simpson

    Fur­ther to Shecky’s com­ment, my mechanic is my par­ents’ mechanic. Because he does bril­liant work for them and is always really rea­son­ably priced, they rec­om­mended him to me and now he gets all my work too. Quite apart from the fact that I am now his willing slave for life for saving my car-baby.

    Apart from that, I encoun­tered the clien­telist economy in South America in pretty much the same way you did in Taiwan. If you asked a local where to find some­thing they would take you to their friend’s boyfriend’s mother’s cousin’s what­ever and there was a lot of pres­sure to buy there. In the end I honed my skill in asking about some­thing in such a vague way as to give the impres­sion that I was just ran­domly thinking about it which forced them just to give me a rec­om­men­da­tion without drag­ging me right over there this very minute. And that way I found places who treated me right and had good stock, etc, etc (one jeans shop got all my busi­ness throughout two years of buying jeans in the city).

    I think you do need both. If you’re not pro­viding a good ser­vice, espe­cially in the West where we’ve grown up in mer­i­to­cratic economies, you won’t keep your clients beyond the first, maybe the second, pur­chase. But if the product is good, they’ll be yours for as long as the product is good, and the longer they stick with you, the more chances they’ll give you to pro­duce good prod­ucts. All very rel­e­vant for artists in gen­eral and writers in particular.

  • Mhairi Simpson

    Fur­ther to Shecky’s com­ment, my mechanic is my par­ents’ mechanic. Because he does bril­liant work for them and is always really rea­son­ably priced, they rec­om­mended him to me and now he gets all my work too. Quite apart from the fact that I am now his willing slave for life for saving my car-baby.

    Apart from that, I encoun­tered the clien­telist economy in South America in pretty much the same way you did in Taiwan. If you asked a local where to find some­thing they would take you to their friend’s boyfriend’s mother’s cousin’s what­ever and there was a lot of pres­sure to buy there. In the end I honed my skill in asking about some­thing in such a vague way as to give the impres­sion that I was just ran­domly thinking about it which forced them just to give me a rec­om­men­da­tion without drag­ging me right over there this very minute. And that way I found places who treated me right and had good stock, etc, etc (one jeans shop got all my busi­ness throughout two years of buying jeans in the city).

    I think you do need both. If you’re not pro­viding a good ser­vice, espe­cially in the West where we’ve grown up in mer­i­to­cratic economies, you won’t keep your clients beyond the first, maybe the second, pur­chase. But if the product is good, they’ll be yours for as long as the product is good, and the longer they stick with you, the more chances they’ll give you to pro­duce good prod­ucts. All very rel­e­vant for artists in gen­eral and writers in particular.